Semiotics within Prometheus

Jake Bryant
BA (Hons), CG Arts & Animation: Year 1 University for the Creative Arts, Rochester
Lead unit tutor: Chris Hunt Word count: 2143

For this essay you will focus on one historical or contemporary visual cultural production of your choice. For example, this could be (but is not limited to) a painting, an exhibition, or a piece of architecture; or it could be an aspect of a film, theatrical production or animation, such as its costume, set, props, film editing, etc.

Analyse your chosen example using selected ideas from the lecture and seminar programme and from further research into theoretical ideas and historical contexts.

Submission Date: Friday 30th November 2012

Semiotics within Prometheus

Contents

Introduction 3

Essay Body. 4

Conclusion..... 12

Bibliography .. 13

List of Illustration.. 14

Semiotics within Prometheus

Semiotics within Prometheus

Introduction

The study of semiotics focuses on the examination of signs, their indication and significance, as well as their communication. Within film, further understandings and analysis are presented through the visual language that is communicated to audiences through the principles of symbols and signs, having these visual images interpreted differently in different cultures (Monaco, 2009:171). Prometheus (Dir. R. Scott, 2012) is a science fiction film that marks the fifth installment to the Alien franchise, and serves as a prequel to the original 1979 film Alien (Dir. R. Scott, 1979). The story of which Prometheus follows is set late in the 21st century, and centres on the journey of the crew of the Prometheus, a giant space craft which shares the same title as the production. As the crew pursues directions from a star map discovered amongst the remnants of ancient cultures that inhabited Earth, they arrive on a distant world where they further discover an advanced civilization that turns into a threat that could be the cause of the extinction of the human race. Even though Prometheus (Dir. R. Scott, 2012) shares similarities with the DNA of Alien (Dir. R. Scott, 1979), Prometheus explores its own mythology and ideas which can be interpreted through symbols that debatably reveal concealed messages depending on their analysis and interpretation. Through this essay I will be drawing on the comparison of the symbolisms within Prometheus and their subliminal meanings within other contexts.

Semiotics within Prometheus

Essay Body

Prometheus explores multitudes of theories and presents audiences with many possible interpretations through different means of semiotics. The films opening offers viewers with a diverse series of questions after analysis, with the narrative of Prometheus being introduced to spectators by the actions of an unspecified, palewhite humanoid figure performing something that resembles a foreign ritual. Already this provides enquires about the origin and real meanings behind the occurrence and its purpose. As critic Roger Ebert acknowledges, the questions that assemble are relevant to the way in which one interprets the possible symbolisms within the opening sequence. Where is this place? Is it Earth? Who is the being, and why is it alone and naked? Is the scene a visualization of the theory that life first arrived on Earth from outer space? (Ebert, 2012) Already basic conventions of appearance and setting are the main attractions to viewers, and provide visual communications that give off strong ideas which could develop varied interpretations or meanings, through the next series of events that occur during the introductory scene. These questions that arise develop around the initial judgments of the setting, the characters and the occurring events that, in turn, delve into something with a much deeper meaning.

Figure 1. Prometheus. (2012). 4

Semiotics within Prometheus

These ideas surrounding the opening introduction of this mysterious character and setting allow a more profound understanding of the further explored developments in symbolism which can be addressed more thoroughly through analysis. Each viewer can observe different comprehensions, but from a personal view, the interpretation of the opening scene symbolizes the creation of life. The visual language and communication within the film allow the development of the comparison between the mythological titan Prometheus and the unfamiliar humanoid. This opinion permits possible conceptions of the similarities and evocative symbolic representations of the generous entity (Prometheus), who was believed to be the creator of life, and the extraterrestrial that is seen sacrificing himself through his own molecular breakdown. The aliens self sacrifice results in his DNA beginning cellular meiosis that coherently allows terraforming which signifies to audiences the origins of humanity, and provides an understanding of the setting that is now interpreted to be Earth. Segments sharing relevant association with the idea of the origins of humanity link back to this symbolism throughout and also share similar suggestive tones of an idea that implies that selfless acts of sacrifice, and possible eternal punishment, go hand in hand with necessity of creating or even preserving life.

Multiple symbols that appear to take influence from the long-established Promethean myth are present throughout different places within the film, with one of the more notable symbolisms being the engraved mural that appears on the ceiling of the chamber in which the black substance is preserved (Figure 3). Said mural reflects similarities with the traditional parable present within Figure 2 which displays one of Christian Griepenkerls paintings depicting the eternal punishment of Prometheus. The parallels within these images both replicate similar portrayals of events, having the films carved mural resemble a comparable anatomical position within the ornate Griepenkerl delineation, as well as something more obvious. The

Semiotics within Prometheus

more important, and perhaps the more significant comparable of the two images, is that both represent an entity which are both coherently considered to be the giver of life by different cultures, sharing a similar fate having their bodies mutilated and torn open by another creature. The mural within the film serves as a visual presentment of storytelling, having symbolisms such as these bestowing contextual assessments of historical myth in addition to the pre-existing ideologies within Prometheus. The relevance of these action portrayals later delve further into deeper ideas that questionably share meaning with the events that happen during the course of the film.

Figure 2. Prometheus Tortured by the Eagle. (c. 1839-1916).

Figure 3. Prometheus. (2012).

More obvious ideas explored through symbolism are existent within religious contexts residing around Christianity, and can be studied to reveal further hidden sub-texts that arguably involve further investigation of the films true nature. For example, the most acknowledgeable symbol which is associated with Christianity
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Semiotics within Prometheus

that appears is the emblematic Christian Holy cross that the protagonist, Elizabeth Shaw, bares around her neck. It is common knowledge that the cross symbolizes the crucifix that Jesus was nailed to, and was later adapted to be used as the religious symbol which represents Christianity, that would then go on to host a whole new collection of connotations and symbolisms. In various scenes, the necklace is a representation of protection with an observation communicating that her character is safe from harm while wearing the crucifix, however when the necklace isnt present, the representation of evil (being the black substance) is able to stain her. The first major event which presents this is when Shaw is impregnated by her infected lover, Holloway, after knowing that Shaw is infertile. On further investigation, the events which occur arguably provide to be one of the biggest religious references portrayed, and are reflected well in regards to the New Testament of the Holy Bible when it reveals a possible hidden context within Prometheus through further analysis. Lines 35 and 36 of Luke chapter 1 read; The Holy Ghost shall come upon thee, and the power of the highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God. And behold, thy cousin Elisabeth, she hath also conceived a son in her old; and this is the sixth month with who was called barren. (Luke 1: 35-36 King James Bible) This evidence points to multiple analyses that relate to the ideas of religious contexts having disputable arguments which convey the idea of miracles and furthermore, acts of God. It is noticeable that a comparison between referenced characters is explored, with obvious similarities between the original text and film, of which leads to a consideration that the events are an alternation of the biblical reference. Barren is a probable indication to the character of Shaws infertility, but more specifically the passage appears to have helped to envision the ideology of Shaw being impregnated by God, or more definitively within this context; her creators. This notion then links back to the themes of human origin, having another creator of life being symbolized as Shaw herself. Additionally, Shaw gives birth to

Semiotics within Prometheus

the creation known as a face-hugger (Figure 4), which is a creature that is known throughout the Alien franchise to be the originators of chest-bursters that, in turn, are the creators of all alien life. All of these species relate back to the ideas explored with the mural of Figure 3, and the origins of the Promethean myth, with the idea of life being created through a hosts abdomen reflecting previous similarities again with the punishment of Prometheus himself.

Figure 4. Prometheus. (2012).

The element of fire is also symbolized within Prometheus but in a way which symbolizes more than just the fire which the Greek titan had given to humanity. It is a known fact that the idea behind the discovery of fire was gifted from benevolent Prometheus, despite disobeying the gods themselves after fearing that humans would become too powerful, and couldnt be trusted with an element so mighty. A sequence of events sees the character of Holloway, who is infected by the black substance, trying to receive medical help and entry back onto the spacecraft. The resulting actions lead to his execution by Vickers with the help of fire (Figure 5), fearing the risk of the contamination of the crews health. The event is suggestive in a way that raises a point of view which implies the idea that humanity, being

Semiotics within Prometheus

Figure 5. Prometheus. (2012).

symbolized by Vickers, is overpowering and defeating their creators who are represented by the infected Holloway. It is probable that this juxtaposition replicates the fear that the Greek gods initially possessed towards the human race becoming too advanced and possibly threatening their existence. Another symbol inside this sequence that is possibly more subtle, is the idea of self-sacrifice which is an alternate theme explored with in the film. Due to humanities creators, (the pale figures), sacrificing themselves to create life, it could be said the selfless act of Holloway seemingly allowing Vickers to execute him symbolizes a possible repayment to their gods, as well as having him present the nobler morality against the evil or selfish characters within their crew.

Morality within the world is questionable, which through years of inhumane, historic incidents, suggest that humans are a failure to their architects. Prometheus explores this in further detail, and it is known that film director Ridley Scott wanted to reflect upon this ideology within the production discussing his concerns and outlooks on humanity in a conversation with Rebecca Cusey. He questions; How can you not despair at whats happening in the world, and how were represented as human beings? The disappointments and corruption are

Semiotics within Prometheus

dismaying at every level. And the biggest source of evil is of course religion. (Scott, 2012) In agreement with the views of Scott, the representation of human beings are usually morally corrupt, suggesting that there is more evil in the world than there is good, arguing that perhaps as a race we are not worthy of the gift of life. This is also suggestive throughout his film, especially in one particular scene when the android character of David questions Shaw on her faith in religion, after the destructive events of the film asking her Even after all this, you still believe. The conversation itself is symbolic in a way which implies that humans put too much faith in religion and that it possibly corrupts the minds of individuals clouding their judgments of morality. Scott also revealed the reasons behind the bitterness between the Engineers (humanities originators) and the crew of the Prometheus to be dated back to the first century. The ideologies behind the contexts within Prometheus are linked with the crucifixion of Christ, believing him to be an emissary sent to earth by their creators, only to later be crucified confirming the failure of the human race, arguably presenting another selfless act of sacrifice.

Figure 6. Prometheus. (2012).

One of the last points, linking the idea of crucifixion, is one of the final events of Prometheus, which sees three characters sacrificing themselves in order to possibly save humanity. The scene depicts Captain Janek and his two co-pilots purposely colliding with the ship of the engineer. At the moment of impact all three characters maintain a position which resembles the crucifixion of Christ as shown in Figure 6.
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Semiotics within Prometheus

This symbolism could be explored to suggest that these characters are a way of representing a moral sacrifice like their creators, possibly hinting at a comparison of the self-sacrifice for the good humanity. Additionally through further research, it could be said that Janeks and his two co-pilots represent a biblical interpretation of the two thieves that Christ was crucified with.

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Semiotics within Prometheus

Conclusion
In conclusion to my studies, Prometheus presents both religious and mythical ideologies through symbolisms. Drawing attention upon the assessments of the sources analyzed, Prometheus explores multitudes of contexts, having strong biblical and mythological references. All in all Prometheus can be seen as a symbol in itself, representing imagery which explores the theory of the origins of life through innovative and intriguing ideas, that make the film a magnificent production that can provide for interesting arguments and multiple interpretations.

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Semiotics within Prometheus

Bibliography
References

Monaco, J (2009) How to Read a Film, Oxford University Press, Oxford, p.171.

Ebert, R (2012) Prometheus: available at http://rogerebert.suntimes.com; http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120606/REVIEWS/120 609989 [accessed online on 17th November 2012].

Luke 1: 35-36, The New Testament, King James Version, Cambridge University Press, p. 1009.

Scott, R (2012) in conversation with Cusy, R (2012) Ridley Scott talks God, Prometheus and his next (Biblical!) Project: available at www.patheos.com/blogs/tinseltalk/2012/06/ridley-scott-talks-god-prometheus-andhis-next-biblical-project/ [accessed online on 17th November 2012]

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Semiotics within Prometheus

Illustration List

Figure 1. From Prometheus (2012) Directed by: R Scott [Film Still] available at: http://whatculture.com/wp-content/uploads/2012/06/1-ENGINEER.jpg [accessed online on 17th November 2012].

Figure 2. Prometheus tortured by the Eagle (c. 1839-1916) [Painting] available at: http://colltales.files.wordpress.com/2012/06/prometheus-by-christiangriepenkerl.jpg?w=474&h=242 [accessed online on 17th November 2012].

Figure 3. From Prometheus (2012) Directed by: R Scott [Film Still] available at: http://dejanno.files.wordpress.com/2012/04/prometheus.jpg [accessed online on 17th November 2012].

Figure 4. Bryant, J (2012) [Film Still] From Prometheus (2012) Directed by: R Scott, in possession of the author: Rochester.

Figure 5. From Prometheus (2012) Directed by: R Scott [Film Still] available at: http://jrforasteros.com/wp-content/uploads/2012/06/P-FlameOn.jpg [accessed online on 18th November 2012] Figure 6. Bryant, J (2012) [Film Still] From Prometheus (2012) Directed by: R Scott, in possession of the author: Rochester.

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